1997 030702 Unart in Washington

8.50"W x 11.00"H x 0.0"D

$100 (Shipping Included)

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Matt O'Neill

Elmira Heights, NY

Medium: Drawing

Subject Tags: abstraction, suprematism, washington, dc, constructivism, abstract, grafitti, constructivism, abstract, grafitti, brutalism, design, map, geographic

Media: markers

Size: 8.5"W x 11"H x 0.01"D

Year Created: 2018

My works on paper at 8.5x11 reflect a time when considerations of cost and place affected my choice of materials. I was always a very mobile person, and creating art in unlikely places (subway stations, cafes, busy traffic areas) has been a hallmark of my development. This work is on Crane’s 36lb 100% cotton paper, using Schwan Stabilo markers. The images will last, but are subject to fading in direct UV light (sunlight). I highly recommend framing using UV-resistant glazing, and careful placement to avoid direct light.

As always, a purchase of any of these works also includes the option to receive a high-resolution electronic copy for your use in reprinting the image if the original loses its permanence.

Environment is key to feeling, and I seek to create a sense of more than one environment, not only to examine what juxtaposition would look like visually, but also to create a "musical" dialogue for the eyes that avoids stagnancy and counterpoints the inherent dynamism possible in a static image.

​This creativity drives brushwork with revision after revision that delights in simplicity and complexity as warp and weft. The output of which is small treasures of visual delight, collected glyphs and motifs that tell a semiotic story that changes according to the audience, and for the audience according to the moment in time and place.

If I were to use one word to define my aim as a didactic artist, it would be "Hitsuzendo."

If I were to use a different word to define what happens to me when compelled to create, it would be "Anarchy."

The grind and excitement of near-constant movement has given me a stormy and tense relationship to space, and to movement within that space. From walled-off Berlin, foggy Vienna, quaint Alpine villages, and myriad boxy American cities--each environment adding something subtle to my creations. I often pose the philosophical question--why would a thing need to represent another thing, if its own beauty in form should be recognized? I crave tension--seeking truth through examination of angles, trial--error, and the narrative that develops visually through the "indelibility" of contact between pen and paper.

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